Salon – 19e Laval Virtual, Laval, France, 22-26 mars 2017

Du 22 au 26 mars 2017 aura lieu à Laval (Mayenne) la 19e édition du Laval Virtual.

Au fil des éditions, les Rencontres Internationales de la Réalité Virtuelle deviennent les Rencontres Internationales des Technologies et Usages du Virtuel, ne représentant plus seulement la Réalité Virtuelle dans son ensemble mais également la Réalité Augmentée, la 3D interactive, la Robotique, l’Internet des Objets et toutes les Technologies Innovantes et Convergentes.

Devenu incontournable pour les entreprises, les laboratoires et les universités qui travaillent au développement de la Réalité Virtuelle et Augmentée, le succès de Laval Virtual se poursuit avec l’émergence d’un nouveau projet à Laval : Laval Virtual Campus, qui verra le jour courant 2017.

 

Domaines abordés :

  • Réalité Virtuelle
  • Réalité augmentée
  • Impression 3D
  • Robotique
  • Objets connectés
  • Capture 360 et Scan
  • Motion Capture
  • 3D interactive
  • Drones
  • Solutions immersives
  • Wearables
  • Projection Mapping

 

JOURNÉES PROFESSIONNELLES

  • MERCREDI 22 MARS : 10h – 18h
  • JEUDI 23 MARS : 9h – 18h
  • VENDREDI 24 MARS : 9h – 16h

JOURNÉES GRAND PUBLIC

  • SAMEDI 25 MARS : 10h – 18h
  • DIMANCHE 26 MARS : 10h – 18h

 

Site internet ici
Programme des tables rondes ici
Programme des conférences ici
Présentation des contenus immersifs ici

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From March 22nd to 26th 2017 will be held in Laval (France) the 19th edition of the Laval Virtual.

These International Conferences and exhibition on virtual technologies and uses regroup actors working, researching and using Augmented Reality, Virtual Reality, 3D, Robotics and every Innovative Tecnologies you can think of.

Main topics:

  • Virtual Reality
  • Augmented Reality
  • 3D printing
  • Robotics
  • Connected objects
  • 360 Capture and Scan
  • Motion Capture
  • 3D interactive
  • Drones
  • Immersion
  • Wearables
  • Projection Mapping

 

Website here
Roundtables program here
Conferences program here
Présentation des contenus immersifs here

 

Conférence – 14th EUROGRAPHICS Workshop on Graphics and Cultural Heritage, Genova, Italy, 5-7 October 2016

Du 5 au 7 octobre 2016 aura lieu à Gênes, Italie, le 14e Workshop Eurographics on Graphics and Cultural Heritage.

Le but de ce workshop est de créer un dialogue international entre les experts des TIC (Technologies de l’information et de la communication) et les chercheurs du Patrimoine Culturel, afin d’avoir une meilleure compréhension des besoins pour traiter, gérer et délivrer l’information culturelle à une plus large audience.

Les principaux thèmes sont :

•    2/3/4D data acquisition and processing in Cultural Heritage
•    Multispectral imaging and data fusion
•    Digital acquisition, representation and communication of intangible heritage
•    Material acquisition analysis
•    Heterogeneous data collection, integration and management
•    3D printing of cultural assets
•    Shape analysis and interpretation
•    Similarity and search of digital artefacts
•    Visualization and Virtual Museums
•    Multi-modal and interactive environments and applications for Cultural Heritage
•    Spatial and mobile augmentation of physical collections with digital presentations
•    Semantic-aware representation of digital artefacts (metadata, classification schemes, annotation)
•    Digital libraries and archiving of 3D documents
•    Standards and documentation
•    Serious games in Cultural Heritage
•    Storytelling and design of heritage communications
•    Tools for education and training in Cultural Heritage
•    Experiences and projects in Computer Graphics and CH documentation, conservation and dissemination

Conférenciers invités :

  • A Vision for Future Cultural Heritage Projects: Building on Lessons from “Digitally Enabled Scholarship of Medieval Manuscripts », Holly Rushmeier, Yale University
  • H2020 and Cultural Heritage, Albert Gauthier, Policy Officer, Data Applications and Creativity, DG CONNECT

  • 3D imaging and Cultural Heritage – where do we stand? , Fabio Remondino, Bruno Kessler Foundation

 

Site internet ici

_________________________________________________________________________

Dal 5 al 7 ottobre 2016 si terrà a Genova il 14th EUROGRAPHICS Workshop on Graphics and Cultural Heritage.

L’obbiettivo di quest’evento sarà di stabilire un dialogo internazionale tra gli esperti dell’ICT ed i ricercatori dei Beni Culturali per poter capire meglio i bisogni fondamentali per il processing, la gestione e la consegna dell’informazione culturale al pubblico.

I temi principali sono:

•    2/3/4D data acquisition and processing in Cultural Heritage
•    Multispectral imaging and data fusion
•    Digital acquisition, representation and communication of intangible heritage
•    Material acquisition analysis
•    Heterogeneous data collection, integration and management
•    3D printing of cultural assets
•    Shape analysis and interpretation
•    Similarity and search of digital artefacts
•    Visualization and Virtual Museums
•    Multi-modal and interactive environments and applications for Cultural Heritage
•    Spatial and mobile augmentation of physical collections with digital presentations
•    Semantic-aware representation of digital artefacts (metadata, classification schemes, annotation)
•    Digital libraries and archiving of 3D documents
•    Standards and documentation
•    Serious games in Cultural Heritage
•    Storytelling and design of heritage communications
•    Tools for education and training in Cultural Heritage
•    Experiences and projects in Computer Graphics and CH documentation, conservation and dissemination

 

Speakers invitati :

  • A Vision for Future Cultural Heritage Projects: Building on Lessons from “Digitally Enabled Scholarship of Medieval Manuscripts », Holly Rushmeier, Yale University
  • H2020 and Cultural Heritage, Albert Gauthier, Policy Officer, Data Applications and Creativity, DG CONNECT

  • 3D imaging and Cultural Heritage – where do we stand? , Fabio Remondino, Bruno Kessler Foundation

Sito internet qui

 

_________________________________________________________________________

From October the 5th to the 7th, 2016, will be held in Genova, Italy, the 14th EUROGRAPHICS Workshop on Graphics and Cultural Heritage.

The 14th EUROGRAPHICS Workshop on Graphics and Cultural Heritage (GCH 2016) aims to foster an international dialogue between ICT experts and CH scientists to have a better understanding of the critical requirements for processing, managing, and delivering cultural information to a broader audience.

Main thematics are:

•    2/3/4D data acquisition and processing in Cultural Heritage
•    Multispectral imaging and data fusion
•    Digital acquisition, representation and communication of intangible heritage
•    Material acquisition analysis
•    Heterogeneous data collection, integration and management
•    3D printing of cultural assets
•    Shape analysis and interpretation
•    Similarity and search of digital artefacts
•    Visualization and Virtual Museums
•    Multi-modal and interactive environments and applications for Cultural Heritage
•    Spatial and mobile augmentation of physical collections with digital presentations
•    Semantic-aware representation of digital artefacts (metadata, classification schemes, annotation)
•    Digital libraries and archiving of 3D documents
•    Standards and documentation
•    Serious games in Cultural Heritage
•    Storytelling and design of heritage communications
•    Tools for education and training in Cultural Heritage
•    Experiences and projects in Computer Graphics and CH documentation, conservation and dissemination

 

Invited speakers :

  • A Vision for Future Cultural Heritage Projects: Building on Lessons from “Digitally Enabled Scholarship of Medieval Manuscripts », Holly Rushmeier, Yale University
  • H2020 and Cultural Heritage, Albert Gauthier, Policy Officer, Data Applications and Creativity, DG CONNECT

  • 3D imaging and Cultural Heritage – where do we stand? , Fabio Remondino, Bruno Kessler Foundation

 

Website here

 

« The Next Rembrandt », un nouveau Rembrandt imprimé en 3D

Un nouveau Rembrandt a été créé grâce à une collaboration entre 18 chercheurs : historiens d’Art, analystes et développeurs, afin d’étudier le lien possible entre science, données et Art. Le projet a réuni le Musée Rembrandt d’Amsterdam, le Musée Mauritshuis de La Haye, Microsoft et l’Institut de Technologie de Delft.

Plus de 300 tableaux du maître hollandais ont été scannés en 3D à très haute résolution puis étudiés par les chercheurs et un algorithme a été développé pour les analyser et en extraire un maximum d’informations.

Une fois différentes données extraites (grandes tendances du peintre, position des visages dans les portraits, etc.), les scientifiques ont élaboré un autre algorithme permettant de mettre en évidence les différences d’épaisseur des touches de peinture selon les zones du tableau, à la manière d’une analyse topographique des altitudes dans un paysage.

Après avoir fini les analyses, les scientifiques ont ensuite imprimé en 3D un « tableau-type » formé de 13 couches d’encre spéciale pour pouvoir obtenir le relief rendu par la peinture et la touche du maître.

Le résultat très impressionnant est une toile de 148 millions de pixels basé sur 168,263 fragments de Rembrandt originaux, qui pourrait tromper facilement un visiteur dans un musée qui prendrait cette « toile technologique » pour un original de Rembrandt.

Vidéo de démonstration ici

Site web du projet ici

Article en français ici, article en italien ici et article en anglais ici

_____________________________________________________________________

A new Rembrandt has been created thanks to a collaboration between 18 scientists: Art historians, data scientists and developpers, to study the possible link between science, data and Art. The project has involved various organisations including Microsoft, Delft University of Technology, the Mauritshuis in The Hague and the Rembrandt House Museum in Amsterdam.

More than 300 paintings of the Dutch painter has been 3D scanned at a very high resolution and then studied by the researchers. An algorithm has been then developped to analyse them and extract as many informations as it could.

Once the data extracted (major tendancies of the painter, positions of the faces in the portraits, etc.), the scientists elaborated another algorithm allowing to highlight the differences between the painting strokes depending on the various zones of the painting, as it would be done in a topographical analysis of the various heights in a landscape.

Once the analysis made, the scientists then 3D printed a « standard-painting » with 13 layers of a peculiar ink in order to obtain the three dimensions of the paint and Rembrandt’s individual way of painting.

The very impressive result is a painting formed of 148 millions pixels based on 168,263 Rembrandt painting fragments, that could easily cheat the majority of visitors in a museum that could take this « technological painting » as a true Rembrandt.

Demo video here

Website of the project here

Article in english here, article in french here, article in italian here

 

Impression 3D de tableaux

[français & italiano]

Comment peut-on imprimer en 3D des tableaux, qui sont par nature des objets réputés « plats » ?

Je vous propose trois solutions pour l’instant :

  • Celle d’un jeune doctorant de l’Université de Delft, vu en 2013 au Digital Heritage Congress à Marseille, Tim Zaman

Il a utilisé trois tableaux, deux Rembrandt et un Van Gogh, qui sont des peintres utilisant de nombreuses couches de peinture, et a mis au point un « scanner 3D » pour la numérisation, puis fait imprimé en 3D le résultat.

Le scanner 3D est constitué de deux Nikon D800E, des appareils photo à 40Mpx, et un projecteur pour aider à la triangulation entre les deux appareils.

L’impression 3D a été confié à une entreprise néerlandaise spécialisée, Océ (Canon Group), qui a non seulement réalisé la forme, mais aussi la couleur des tableaux.

Les tableaux sont donc reproduits à l’identique (ou presque), mais peuvent être observés de près, voire touchés. Ses modèles 3D peuvent permettre aux spécialistes de travailler de très près sans toucher le tableau, voire même sans être près de lui ou dans le même pays. Un double usage qui est très commun à la 3D en général.

Vidéo de la BBC montrant son travail ici.

Vidéo d’une impression 3D en couleur de l’entreprise Océ ici.

Son résumé pour sa présentation au Digital Heritage 2013 à Marseille :

Moving Towards The Ultimate Reproduction – Scanning And Printing of Paintings in High Resolution, Full-Color 3-D.

Paintings are versatile near-planar objects with material characteristics that vary widely. The fact that like sculptures, paint itself also has an important material presence is often overlooked. This is because we have become used to enjoying these artworks through two dimensional media like prints and computer screens. The capture of the topography of the paint in 3-D is not only interesting for study, restoration and conservation, but it also facilitates making three dimensional reproductions through state-of-the-art 3-D printing methods. The design of a 3-D imaging device for paintings is challenging because of their varying material characteristics and subtle depth difference as opposed to the size of the canvas. No single imaging method is ideally suited for this task and each have specific drawbacks.

We propose a hybrid design consisting out of normal studio equipment, where stereo imaging (two cameras) is aided by the fringe projection technique (1 projector). Fringe projection is aided by sparse stereo matching to serve as an image encoder. The encoded images then aid the stereo cameras triangulate each pixel they observe. In this manner, we simultaneously capture both the color and depth, yielding perfect image registration. Through high-end camera’s, special lenses and filters we capture a surface area of 170 square centimeters per capture with an in-plane effective resolution of 50 micron and a depth precision of 9 micron. Semi-automated positioning makes the capture possible of paintings like the 2 square meter big Jewish Bride by Rembrandt, yielding a billion points point-cloud, all labeled with their correct color. Another self-portrait by Rembrandt and work of Van Gogh were also captured to test the performance of the system.

This data is then immediately ready for 3-D printing (the easiest way to visualize huge 3-D models). This was done through a specialized high resolution full color 3-D printer, yielding a very convincing reproduction by accurately portraying the topography.

Sa page ici avec plusieurs vidéos, photos et articles

 

  • Celle du projet « Unseen Art », qui vient tout droit de Finlande

Le projet se propose également d’imprimer en 3D des tableaux, mais d’une façon tout à fait différente : il ne s’agit pas ici de reproduire à l’identique l’œuvre, mais bien d’en créer un rendu 3D.

Et pourquoi pas, de commencer par la Joconde. Le but du projet est d’offrir aux mal-voyants et aux aveugles la chance de pouvoir « voir » certains chef-d’œuvre en touchant leur rendu 3D. Tous les tableaux ne sont pas en relief comme dans le cas de Rembrandt, ou surtout, Van Gogh, et il faut donc créer la tridimensionnalité.

Le projet est expliqué dans cette vidéo.

Site du projet ici.

Page Facebook du projet ici.

Page de l’initiative de financement participatif ici.

 

  • Celle mise en œuvre lors de l’exposition « Alchemy de Jackson Pollock. Voyage à l’intérieur de la matière » à la Collezione Peggy Guggenheim de Venise

L’exposition tournait autour du tableau « Alchemy » de Jackson Pollock qui venait de se refaire une beauté à l’Opificio delle Pietre Dure de Florence.

Le Visual Computing Lab de Pise a pour l’occasion réalisé la numérisation du tableau avec un scanner 3D GOM Atos et a fait imprimé en 3D le modèle obtenu par la société spécialisée Océ (Canon Group).

Le modèle a été utilisé pour le public, mais également à des fins scientifiques pour aider la restauration et enrichir l’étude du tableau.

Le choix d’imprimer en 3D le tableau de Jackson Pollock sans couleurs a permis non seulement aux visiteurs de toucher la réplique, mais également de pouvoir en apprécier toute la géométrie en relief sans que l’œil ne soit détourné par les couleurs tour à tour sombres ou éclatantes de l’original.

Extrait de l’article présenté au Digital Heritage 2015 à Grenade :

The possibility to interact and touch this color-stripped reproduction provides an somehow unconventional experience, but lets the user better understand the complexity of the artwork in a completely new way. The printed reproduction was a success, people were at the begin intimidated by the size of it, and the idea of touching an artwork, but soon after the inauguration, all the visitors were happily using the replica.

Page internet de l’exposition ici.

Article présenté au Digital Heritage 2015 à Grenade ici.

 

________________________________________________________________________

Come si può stampare in 3D dei dipinti, che sono per natura oggetti « piatti » ?

Per il momento, vi propongo tre possibilità :

  • Quella di un giovane dottorando dell’Università di Delft, visto nel 2013 al Digital Heritage a Marsiglia, Tim Zaman

Ha usato tre dipinti, due Rembrandt ed un Van Gogh, che sono pittori che usano numerosi strati di pittura, ed ha sviluppato uno « scanner 3D » per digitalizzare i capolavori, e poi ha fatto stampare in 3D il risultato.

Lo scanner 3D si costituisce di due Nikon D800E, macchine fotografiche a 40Mpx, ed un proiettore per aiutare alla triangolazione tra le due macchine.

La stampa 3D è stata affidata da una ditta olandese specializzata, Océ (Canon Group), che non solo ha realizzato la stampa della forma, ma anche del colore.

I dipinti sono dunque riprodotti all’identico (o quasi), ma possano essere osservati da molto vicino, addirittura toccati. I modelli 3D possono servire ai specialisti per lavorare da molto vicino senza toccare il dipinto, anzi senza essere accanto o nello stesso paese. Questo doppio uso è molto commune al 3D in generale.

Vidéo della BBC che mostra il suo lavoro qui.

Video di un stampa 3D a colore della ditta Océ qui.

Il riassunto della sua presentazione al Digital Heritage 2013 di Marsiglia :

Moving Towards The Ultimate Reproduction – Scanning And Printing of Paintings in High Resolution, Full-Color 3-D.

Paintings are versatile near-planar objects with material characteristics that vary widely. The fact that like sculptures, paint itself also has an important material presence is often overlooked. This is because we have become used to enjoying these artworks through two dimensional media like prints and computer screens. The capture of the topography of the paint in 3-D is not only interesting for study, restoration and conservation, but it also facilitates making three dimensional reproductions through state-of-the-art 3-D printing methods. The design of a 3-D imaging device for paintings is challenging because of their varying material characteristics and subtle depth difference as opposed to the size of the canvas. No single imaging method is ideally suited for this task and each have specific drawbacks.

We propose a hybrid design consisting out of normal studio equipment, where stereo imaging (two cameras) is aided by the fringe projection technique (1 projector). Fringe projection is aided by sparse stereo matching to serve as an image encoder. The encoded images then aid the stereo cameras triangulate each pixel they observe. In this manner, we simultaneously capture both the color and depth, yielding perfect image registration. Through high-end camera’s, special lenses and filters we capture a surface area of 170 square centimeters per capture with an in-plane effective resolution of 50 micron and a depth precision of 9 micron. Semi-automated positioning makes the capture possible of paintings like the 2 square meter big Jewish Bride by Rembrandt, yielding a billion points point-cloud, all labeled with their correct color. Another self-portrait by Rembrandt and work of Van Gogh were also captured to test the performance of the system.

This data is then immediately ready for 3-D printing (the easiest way to visualize huge 3-D models). This was done through a specialized high resolution full color 3-D printer, yielding a very convincing reproduction by accurately portraying the topography.

La sua pagina qui con video, foto ed articoli.

Articolo sulla Repubblica qui.

 

  • Quella del progetto « Unseen Art » che ci viene della Finlandia

Questo progetto proponne anche lui di stampare in 3D dei dipinti, ma in un modo completamente diverso: qua non si tratta di riprodure l’opera all’identico, ma di crearne un modello 3D.

E perchè no, cominciando colla Joconde. L’obiettivo del progetto è di offrire ai ciechi l’opportunità di poter « vedere » alcuni capolavori toccando il loro modello 3D. Non tutti i dipinti sono a rilievo come i Rembrandt, o sopratutto i Van Gogh, quindi bisogna creare la tridimensionalità.

Il progetto viene spiegato in questo video.

Sito del progetto qui.

Pagina Facebook qui.

Pagina della piattaforma di crowdfunding qui.

 

  • Quella usata per la mostra « Alchimia di Jackson Pollock. Viaggia attraverso la materia » alla Collezione Peggy Guggenheim di Venezia

La mostra era sul dipinto « Alchemy » di Jackson Pollock, che era appena stato restaurato all’Opificio delle Pietre Dure a Firenze.

Il Visual Computing Lab di Pisa ha per l’occasione realizzato la digitalizzazione del dipinto con uno scanner 3D GOM Atos, e fatto stampare il modello ottenuto dalla ditta specializzata Océ (Canon Group).

Il modello 3D è stato usato per il pubblico, ma anche as uso scientifico per aiutare il restaura ed arrichire lo studio del dipinto.

La scelta di stampare in 3D il dipinto di Jackson Pollock senza i colori non solo ha permesso ai visitatori di poter toccare la replica, ma anche di poter apprezzarne tutta la geometria a rilievo senza che l’occhio sia deviatto dai colori scuri o brillanti dell’originale.

Estratto dell’articolo presentato al Digital Heritage 2015 di Granada:

The possibility to interact and touch this color-stripped reproduction provides an somehow unconventional experience, but lets the user better understand the complexity of the artwork in a completely new way. The printed reproduction was a success, people were at the begin intimidated by the size of it, and the idea of touching an artwork, but soon after the inauguration, all the visitors were happily using the replica.

Site internet della mostra qui.

Articolo presentato al Digital Heritage 2015 di Granada qui.