This paper presents the outcome of research into the effects of ambient temperature changes on structured-light three-dimensional (3D) scanners. The tests were conducted in a thermal chamber and consisted of a comparison of the 3D measurement of a special reference unit (made of a carbon composite) performed at different temperatures, with measurements performed at the calibration temperature. A contact measuring arm with temperature compensation was used as a reference. Based on the results of these experiments, we propose a method that allows us to extend the existing scanner calibration method by using a temperature-correction procedure that is based on linear and nonlinear mathematical models. An exemplary application of this procedure has shown that the range of temperatures in which scanner accuracy is within declared limits can be increased 11-fold.

In this paper, a process for high-resolution, automated 3D digitization of unknown objects (i.e., without any digital model) is presented. The process has two stages—the first leads to a coarse 3D digital model of the object, and the second obtains the final model. A rough model, acquired by a 3D measurement head with a large working volume and relatively low resolution, is used to calculate the precise head positions required for the full digitization of the object, as well as collision detection and avoidance. We show that this approach is much more efficient than digitization with only a precise head, when its positions for subsequent measurements (so-called next-best-views) must be calculated based only on a partially recovered 3D model of the object. We also show how using a rough object representation for collision detection shortens the high-resolution digitization process.

In this paper, a fully automated 3D digitization system for documentation of paintings is presented. It consists of a specially designed frame system for secure fixing of painting, a custom designed, structured light-based, high-resolution measurement head with no IR and UV emission. This device is automatically positioned in two axes (parallel to the surface of digitized painting) with additional manual positioning in third, perpendicular axis. Manual change of observation angle is also possible around two axes to re-measure even partially shadowed areas. The whole system is built in a way which provides full protection of digitized object (moving elements cannot reach its vicinity) and is driven by computer-controlled, highly precise servomechanisms. It can be used for automatic (without any user attention) and fast measurement of the paintings with some limitation to their properties: maximum size of the picture is 2000mm x 2000mm (with deviation of flatness smaller than 20mm) Measurement head is automatically calibrated by the system and its possible working volume starts from 50mm x 50mm x 20mm (10000 points per square mm) and ends at 120mm x 80mm x 60mm (2500 points per square mm). The directional measurements obtained with this system are automatically initially aligned due to the measurement head’s position coordinates known from servomechanisms. After the whole painting is digitized, the measurements are fine-aligned with color-based ICP algorithm to remove any influence of possible inaccuracy of positioning devices. We present exemplary digitization results along with the discussion about the opportunities of analysis which appear for such high-resolution, 3D computer models of paintings.

This paper documents the formulation of an international, interdisciplinary study, on a concerted European level, to prepare an innovative, reliable, independent and global knowledge base facilitating the use of today’s and future optical measuring techniques for the documentation of cultural heritage. Cultural heritage professionals, color engineers and scientists share similar goals for the documentation, curation, long-term preservation and representation of cultural heritage artifacts. Their focus is on accuracy in the digital capture and remediation of artefacts through a range of temporal, spatial and technical constraints. A shared vocabulary to interrogate these shared concerns will transform mutual understanding and facilitate an agreed movement forward in cultural heritage documentation here proposed in the work of the COST Action Color and Space in Cultural Heritage (COSCH). The goal is a model that captures the shared concerns of professionals for a standards-based solution with an organic Linked Data model. The knowledge representation proposed here invokes a GUI interface for non-expert users of capture technologies, facilitates, and formulates their engagement with key questions for the field.